International Journal of Pedagogics
229
https://theusajournals.com/index.php/ijp
VOLUME
Vol.05 Issue03 2025
PAGE NO.
229-231
10.37547/ijp/Volume05Issue03-65
Use of fiction in forming national communicational behavior in
children
Buzrukova Dilorom Mamirkhonovna
The Doctor of Philosophy in Philological Sciences in Fergana State University, Uzbekistan
Received:
29 January 2025;
Accepted:
28 February 2025;
Published:
31 March 2025
Abstract:
This article discusses the expression of national dialogue and traditions inherent in the Uzbek mentality
in the speech of characters in children's literature. Stories created for children are widely used in the formation
of national dialogue behavior and etiquette in preschool children.
Keywords:
Children's literature, character speech, imitation, envy, help, humility, kinship ties, national image.
Introduction:
The most important element of a work of
art is the word. And words are manifested in the
language of the characters of the work in different
ways. Great skill is required from the artist in giving the
speech of the characters in a work of art. The speech of
each character must be appropriate to his spirituality,
behavior, psyche, and age. Character speech consists of
dialogue (conversation between two or more
characters) and monologue (internal speech of the
characters to themselves or to others), both of which
are important means of creating an image and
character.
As is known, when it comes to children's reading, it is
understood that children's books do not take into
account the age characteristics of children, are
intended for students of all ages, and are also relevant
for adults of an educational, moral, didactic nature.
Children's literature is considered to be works of art
specially created for preschool children, written taking
into account their worldview, psychology, age
characteristics, and upbringing.
The emergence of Uzbek children's storytelling has a
long history. Because the creation of works related to
children's education began long ago, and it is no secret
that, first of all, they appeared in the form of works
created in various genres, such as fairy tales, proverbs,
riddles, songs, as examples of folklore. "With the
emergence of written literature, works dedicated to
the issue of child education also began to appear. But
this does not mean that special children's literature has
begun to emerge. After all, most of such works are
didactic in nature, written mainly in the taste and
language of adults, they express the observations and
thoughts of adults about life and education. Such works
should be viewed not as examples of children's
literature, but as works related to children's reading".
[1]
METHODOLOGY
The movement to create special Uzbek children's
literature for preschool children intensified at the
beginning of the 20th century. In particular, the works,
stories and poems of H.H. Niyoziy, A. Avloniy, included
in a number of textbooks, played an important role in
the development of Uzbek children's literature. Uzbek
children's literature went through a unique stage of
development in the 20th century. In particular, the
works of many creators such as G. G'ulom, H. Olimjon,
H. Tokhtaboyev, L. Mahmudov, A. Obidjon have a
special place in it. Looking at the works of these
creators, taking into account the genre characteristics
of children's storytelling, its visual expression is lively,
its heroes are lifelike, its interpretations of the period
are realistic, and the depiction of images and
characters fulfills a clearly targeted educational task.
The role of nationality in making a work created for
children believable and impressive is incomparable.
For example, the hero of Abdulla Avloni's story "The
Voice" is a seven-year-old boy, who went into the park
and spoke loudly, but the words he said echoed back to
him. Even though the boy said, "Come, friend, let's play
together," no one was seen. Then the boy angrily said
bad words. The words he said echoed back to him. The
boy was sad and cried and told his mother what had
happened. His mother realized that the boy's voice was
International Journal of Pedagogics
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International Journal of Pedagogics (ISSN: 2771-2281)
his own. Then his mother said: "Oh, my son! Don't say
bad words to me. If you say good words, he will also
answer you with good words." The words his mother
said were a lesson for him to be a good child. In the
story "The Plague of Jealousy", the story begins with a
white-faced hawk, jealous of the fact that people feed
pigeons and build them a nest, and begins to live with
the pigeons. The jealous hawk is shown to be lying
when he sees another hawk in the sky and shouts "Go
away...", which reveals his lie. As a result, pigeons come
from all directions and drown the lying hawk. The hawk
barely escapes and joins the hawks. At the end of the
story, the hawks do not believe him to be a hawk
because of his white feathers. The hawk begs him,
saying "Go away... Go away...". But the hawks also
chase him away, head-butting him.
The main character in Anvar Obidjon's "The Story of the
Turtle" - Turtle - set off a week ago, and he sees why
Monday is a difficult day when the weather gets hot.
He longs for human children to sit in a cool place at such
a time, either drinking ice-cold lemonade or licking ice
cream. According to him, "...it is better to live a
hundred years as a human than to crawl for a thousand
years as a turtle." Turtle explains the reason for his long
journey on a hot day as follows: "Hey, do you see the
Mirza-Teraks? There is an aunt over there. My aunt's
youngest granddaughter is a dear friend. Next Monday,
that little friend of mine will turn one hundred and ten
years old. I am going to congratulate her." Turtle's
observance of oriental rituals and loyalty to kinship ties
have given him a national image.
Anvar Obidjon's story "Is it easy to be polite?" is aimed
at children of primary school age. The story begins with
the image of a mouse: "There was a tiny, cheerful,
insatiable mouse. He lived with his beloved mother in
the deepest hole of the tallest, most beautiful house in
the village." The mother of the mouse caresses him "by
rubbing his nose against his nose" and tells him that
"his legs have grown, his tongue has become like a toy
when he goes outside to play," and that now he must
come to his senses and be polite, and the events of the
story begin to develop. The mouse, in turn, says that he
is in his right mind, because he knows which food is
sweet, and asks what he needs to do to appear polite.
The mother, in turn, answered the question: “The
manners of little children are first of all determined by
the way they gre
et each other,” her mother replied.
“When you meet older people, you smile and say,
“Assalamu alaykum,” and they look at you with an open
face and say, “Waalaikum assalamu alaykum.” Then
they say to themselves, “Finally, a well
-mannered child,
thank you to
his parents.” The little mouse greeted him
admirably and wanted to hear the greetings of others.
“He came out of the hole and met a big cat who was
staring at him with a smile. The little mouse smiled at
the little cat and said, “Assalamu alaykum,
Meowpoc
hcha!” The evil in his eyes suddenly
disappeared and, after a moment’s hesitation, said,
“Waalaikum assalamu
-v... May you live long. "Then the
Mouse came across an old goat. The old goat replied to
the Mouse's greeting, "Assalamu alaykum, Echkiboy
buva," with a recitation of "Me-e-alaykum assalamu."
While inviting the Mouse to taste the ham in front of
him, he thanked his father for his kindness. The Mouse
continued on his way, and among the bushes he saw a
tortoise sleeping in his bowl. He circled around it and
kept greeting it. Then the tortoise, who had just
finished eating, stuck his head out of his bowl,
dissatisfied that there was no quieter place in the
world; "Who is that, greeting me from behind?" he
asked angrily. As the mouse continues on its way, it
sees a naked, battered dog - Four-Eyed, who, according
to his own account, has fought in over a hundred
"world wars" and been wounded in seventy-nine places
- fighting for a bone with his neighbor, Olapar. The
mouse, considering it impolite to pass by without
greeting such a warlike animal, says in a soft voice,
"Hello, brave Four-Eyed!" The dogs ignore him and
continue to "bite and bite." The mouse also "squirmed"
around them, covered in dust, and kept shouting
greetings from one side to the other: "Assalamu
alaykum! Hey, Four-Eyed, assalamu alaykum! What's
this, do you have ears? Hey, I'm saying assalamu
alaykum! What's the point of greeting? It's not good to
do that! I'm saying assalamu alaykum!" Then Four-Eyed
bit Olapar on the shoulder and threw him far away, and
until his enemy recovered, he growled at the mouse
and said: "Wow alaykum! Are you at peace, am I safe?
Go away now!" Then he started fighting again. The
mouse was upset by this unexpected cold treatment,
and while crying, he told the old goat the story of the
Tortoise and Four-Eyed. Then the goat reminds him
that there may be situations where greetings are not
necessary.
DISCUSSION AND RESULTS
In Avloni's story analyzed above, the sentence "poor
little turtle was caught in the trouble of envy and was
torn between two worlds" should be used to teach
children that an envious person is stuck in a rut, has no
friends, and is always jealous of those around him
wherever he goes, so that they can draw the necessary
conclusions through the image of a turtle. Through
Anvar Obidjon's "The Story of the Turtle", young
children learn that turtles walk slowly and live long.
They understand that it is difficult for them to cross the
sand, especially the dunes. In the story, the turtle
acquires a national image by saying that it has relatives
like people. The story ends with the turtle's "request":
International Journal of Pedagogics
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International Journal of Pedagogics (ISSN: 2771-2281)
"...Have you ever done anyone a favor in your life, my
friend? If you don't mind, put me in your bag and take
me through this hole. After all, I set out with good
intentions, so I won't miss the feast." The writer
skillfully depicts the need for oriental expression in the
story's touching plot and in raising children in the spirit
of national customs. That is why adults also read Anvar
Obidjon's stories for children with great interest. They
are deeply impressed by them. Because the author
himself takes on the guise of animals and insects and
speaks their language. Since he knows the lifestyle and
nature of these creatures in the Eastern environment
well, he reflects their speech realistically and truthfully.
As a result, insects and animals appear in national
guises. "Is it easy to be polite?" In the story, the style
typical of folk tales is clearly visible - the skillful use of
animals, insects and birds to think and speak like
people to express a certain idea. The heroes of the
work are a mother mouse and a mouse. The writer does
not dwell on their harmful aspects. By treating them
impartially, he manages to instill the idea of morality in
reality. In Anvar Obidjon's stories for children, he calls
on children to be wise in performing any task and to act
with the right mindset in unexpected situations.
CONCLUSION
In Uzbek children's storytelling, nationality is
manifested, first of all, in the imbuing of the eastern
spirit into the behavior, speech, appearance and
actions of the characters of the writer's work. It is also
notable for reflecting the Uzbek way of life and
customs, whether it is the interpretation of nature or
animals and birds. Avloni's stories analyzed above have
played an important role in the development of Uzbek
children's storytelling and have a unique place in the
development of 20th-century Uzbek literature. The
depiction of the national spirit of children in Anvar
Obidjon's stories is manifested in the oriental aspects
of the way of thinking of symbols and images and their
childlikeness; in the flourishing of nationality in the
behavior of animals and insects that are common in
Eastern nature; in the writer's ability to transform
animals and insects in the work into national images by
speaking in a specific dialect of the Uzbek language.
Nationalism is evident in the characters' speech, way of
thinking, and in the children's respect for adults.
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